This is a blog which primarily gives some attention to movies that I find were overlooked (for whatever reason) or are simply underrated. I also comment on other, mainly movie-related issues as well. I welcome any suggestions for films to be added to this distinguished list.

One word of warning: The films listed below contain spoilers, so caution during reading is required.

Friday, September 12, 2014

Agony Booth review: Do marriages ruin TV shows?

My latest Agony Booth article looks at how, in light of the upcoming nuptials on The Big Bang Theory, marriage can enhance or break a TV series.

With filming of The Big Bang Theory’s eighth season now officially underway (and with Jim Parsons, Kaley Cuoco, and Johnny Galecki set to become as overpaid as the average Hollywood A-lister), it’s time to look at a recent important development for the show.

The series’ seventh season ended with Leonard (Galecki) and Penny (Cuoco) becoming engaged. As damning as this may sound, they’ve basically had a Ross/Rachel relationship for the past few seasons—you know, repeatedly breaking up and making up, and breaking up again, ad nauseam. But at long last, they’re set to make their relationship official.

While many fans of Big Bang Theory are excited, some are wary, especially because they can point to a long list of other TV shows that were cancelled not long after the decision to have two of their main cast walk down the aisle. To be honest, I’m just as concerned that Big Bang Theory may become the latest casualty on that list.

Of course, the whole notion that a show’s romantic leads should never ever get together started with Moonlighting. Once that show’s protagonists, private detectives Maddie Hayes (Cybill Shepherd) and David Addison (Bruce Willis) hooked up, the wit and edge that the series was known for just died. It also didn’t help that we no longer got to see the two of them actually solving crimes, but were rather forced to endure a string of episodes that simply focused on the uncertainty of where their relationship was headed. It became the focus of the series, and we no longer got to see Maddie and David engaged in the profession which endeared them to audiences in the first place.

The fallout from Moonlighting’s cancellation may have doomed another ABC show to a premature end. Lois & Clark: The New Adventures of Superman at first seemed to be doing things right. Its second season ended with Dean Cain’s Clark Kent proposing to Teri Hatcher’s Lois Lane, and the third year began with Lois surprising Clark by revealing that she knew he was Superman. This led to episodes where both characters did some of the usual romantic bantering and soul-searching, while continuing to fight bad guys. As a result, it became a truly special moment when they got engaged in the middle of the third season.

Alas, all this goodwill, which generated the highest ratings for the series, came crashing down when ABC broadcast an episode promoted as the one where Lois and Clark finally get married. But the episode ended with the audience discovering that Clark actually married a clone of Lois (allegedly, the network didn’t want them to get together for real—were they afraid of another Maddie/David on their hands?). To add insult to injury, the real Lois, who had been kidnapped by her former fiancée Lex Luthor (John Shea), got amnesia while trying to escape from him, and would stay in mental limbo for the next four episodes. I kid you not; at one point, Lois actually thinks she’s a character from a story she’s written.

During this time, Luthor, and later an unscrupulous therapist both attempted to keep Lois from Clark by trying to convince her that she belonged with each of them. In other words, fans were promised a wedding, but given Melrose Place instead. It didn’t matter that Lois and Clark eventually reunited and would marry for real in the following season (that episode was lousy too, but I digress)—the damage was done. Fans understandably tuned out, which led to the show’s cancellation a year later.

So while Lois and Clark’s producers like to say that the show lost viewers because the two leads got married, those of us who were there and lived through it know that it was because the fans were lied to, and lost interest as a result.

This kind of fan backlash is probably why so many shows like The X-Files, Frasier, Friends, Star Trek: The Next Generation, and for a more recent example, Criminal Minds take the safer route by keeping the sexual tension between its leads going for as long as possible. Criminal Minds fans love the semi-romantic interplay between Shemar Moore’s Derek and Kirsten Vangsness’s Penelope, while TNG’s fans enjoyed similar scenes between Picard and Crusher, although TNG would go a bit further into this in its final season.

Before “marriage” became a series-killing dirty word, there were plenty of shows that kept wedded bliss from lasting long to ensure a quick return to the status quo. One of the most notorious examples of this is Bonanza, where the four Cartwright men seemed destined to retain their bachelorhood. For the entirety of the show’s 14-year run, every time one of the Cartwright sons got serious with a woman, she would either be killed or abruptly die from a disease. Heck, at the beginning of the series, Cartwright patriarch Ben Cartwright (Lorne Greene) had already been married and widowed three times [!], with each of his sons the result of a different marriage.

More recent series weren’t immune from this cliché either. For instance, there’s a second season episode of Xena: Warrior Princess, “Return of Callisto”, in which Xena’s sidekick Gabrielle gets married, only to become a widow before the next commercial break. Xena herself would actually marry in a three-parter during the show’s sixth season, but while she didn’t become widowed, that union was basically invalidated because Xena had amnesia at the time, and her jerk hubby, the King of Scandinavia, disappeared from the proceedings as fast as he arrived (and like many of the characters from Xena’s final two seasons, he wasn’t very interesting in the first place). Needless to say, no one seemed to care that this guy was never seen or heard from again after Xena escaped with her memory restored.

In fairness, some shows work quite well with married characters. Besides the obvious family sitcoms with a married mother and father, there are also shows like the detective series Hart to Hart where its two leads, played by Robert Wagner and Stefanie Powers, were married from the beginning. As a result, the show entertained by giving us two detectives who just happened to be married, without having to worry about following through on any will-they-or-won’t-they subplots.

A more recent example is Sherlock, in which Martin Freeman’s Dr. Watson married Mary Morstan (played by Amanda Abbington, Freeman’s real-life partner) during the third season. Given the fact that the character comes from Arthur Conan Doyle’s Holmes canon, Mary works rather nicely alongside Watson and Benedict Cumberbatch’s Holmes without overshadowing them. I don’t know what’s in store for the show’s upcoming fourth season, but I hope that nothing is done that undermines this new dynamic. I must point out though, that the Sherlock Holmes short story “The Adventure of the Norwood Builder” stated that Mary died, although no explanation is given. If the series decides to kill off Mary, hopefully it will be done in a more dramatically satisfying way.

And then there are the shows that lie somewhere in the middle, where a romance doesn’t completely torpedo the series, but it doesn’t provide many memorable moments either. Star Trek: Deep Space Nine, for instance, made it a point to hook up several of its main characters in its later seasons, such as Worf and Dax, as well as Kira and Odo, but even DS9’s fans (as overly rabid as they can sometimes be) aren’t necessarily quick to list, say, “You Are Cordially Invited” (the episode in which Worf and Dax get married) or “His Way” (where Kira and Odo confess their love) among DS9’s top ten episodes. It’s also interesting to note that both of these couples were no more by the end of the series.

As far as I’m concerned, when it comes to Worf’s romances, his finest moment was in the fourth season TNG episode “Reunion”, when he avenges the death of his lover K’Ehleyr (Suzie Plakson). She had been introduced two seasons earlier and quickly became a fan favorite, which is why, unlike Dax’s death, her murder was a truly shocking moment (though, perhaps this is because K’Ehleyr’s murder is never mentioned in the original trailers for the episode, whereas DS9’s “Tears of the Prophets” made it clear that one of the show’s regulars would meet a premature end). But the episode itself became a classic because Worf shows us what he’s truly made of when he avenges her murder, his career be damned. (Though, not that it mattered much, since Picard just gives him a slap on the wrist.)

In contrast, Worf on DS9 does essentially nothing to avenge Dax’s death. This is one of the reasons why DS9’s final season is also its worst, because it makes Worf as ineffectual as Harry Kim on Voyager, with the same bad luck in the romance department, no less. Yes, Farrell wanted off the show, but her death, along with K’Ehleyr’s, basically made Worf a punch line when it came to matters of love. And his romance with Deanna Troi, a bizarre storyline that ultimately went nowhere, was the only one that didn’t end in horrible tragedy.

So while it’s become a common thing to say that shows jump the shark as soon as two main characters hook up or get married, there are plenty of examples where a series bucks the trend. Will Big Bang Theory be one of them? I don’t see why not. After all, if Friends can last for a full decade in spite of all that Ross/Rachel nonsense, anything’s possible. All I ask is that after Penny and Leonard exchange vows, this development doesn’t take center stage on the show at the expense of everything else fans love about it. Here’s hoping Big Bang Theory can make the most of this new development and still keep its charm.

Monday, September 1, 2014

Summer Rental (1985)

"Well, it was very nice of Hal to find the place."
"It was very nice of him to tell me that I'm cracking up."
"You are not cracking up. You just need this rest."
"Rest? Didn't we just get back from Hawaii?"
"Jack, that was our honeymoon."
-Sandy and Jack Chester.



With another summer coming to a close, I thought I'd take a look at this film from Carl Reiner and starring the late, great John Candy. Unlike Chevy Chase, Candy was always able to project likability on screen, even if the film itself was bad. Heck, I'd go so far as to say that his dual role in Nothing But Trouble (1991) may have been regarded as a highlight in his career had the movie itself not been such a piece of junk. Even when Candy didn't play a likable character, like in JFK (1991), he still projected charisma.
But Candy projects both likability and charisma here, playing overworked air traffic controller Jack Chester. After almost causing two planes to collide, Chester is ordered to take a month off. Although reluctant at first, he takes his wife Sandy (Karen Austin), his children Jennifer (Kerri Green), Bobby (Joey Lawrence) and Laurie (Aubrey Jene) and the family dog to a resort town in Florida.
The vacation doesn't exactly start on a good note, when, after a few days, they discover that the home they rented is the wrong residence, when its owners return home one night. The correct home turns out to be nowhere near as luxurious.
Jack also has to deal with pompous sailor Al Pellet (Richard Crenna), who, as it turns out, becomes the owner of the Chesters' rental home when the previous owner dies.
Al rejects Jack's attempts to be friends, which leads to Jack, a former sailor himself, challenging him in an upcoming boat race.
The Chesters, pleased at seeing Jack re-energized, help him get a boat and get him acquainted with sailing again. The family is also helped by bartender Richard Scully (Rip Torn). With their help, Jack wins the race and stays an extra two weeks rent-free.
Story-wise, the movie offers nothing new, but Candy and the rest of the cast keep things lively throughout. For those of us who have had frustrating experiences vacationing (I'm no exception), this film is also a reminder that things could be worse.

Sunday, July 27, 2014

Cloak & Dagger (1984)

"Jack Flack always escapes!"
-Davey Osborne.


One of my colleagues recently posted an article about the best movies of 1984. Indeed, the many gems which came out that year include Ghostbusters, Gremlins, Indiana Jones and the Temple of Doom, Splash, The Terminator, Starman, Tightrope, Romancing the Stone, Beverly Hills Cop, The Last Starfighter and Star Trek III: The Search for Spock.

Another great movie which came out that year was this thriller, which, one could say, capitalized on the home video game craze that was beginning to take hold of many households, but, unlike the notoriously awful House of the Dead (2003), it did not exclusively depend on it to tell its story.

Davey Osborne (Henry Thomas) is a boy who recently lost his mother and has trouble connecting with his hard-working father Hal (Dabney Coleman). This is why he spends his time on role playing games, specifically Cloak & Dagger. The game's hero, superspy Jack Flack (also Coleman), even pops up to give Davey advice.

One day, Davey's friend, video game store owner Morris (William Forsythe, yes, that William Forsythe) sends Davey and his friend Kim (Christina Nigra) on a errand. It is during that run that Davey witnesses the murder of a man who gives Davey an Atari Cloak & Dagger game cartridge, telling them that it must not fall into the wrong hands. But the authorities, Kim and Hal don't believe Davey when he tries to tell them what happened.

It's not long, though, before Davey finds himself being chased by spies led by a man named Rice (Michael Murphy). At one point, they attempt to get the cartridge from Davey by kidnapping Kim, but he is able to save her with Jack's help. However, Rice manages to kill Morris and plant a bomb in Kim's walkie-talkie (yes, before cell phones dominated society, there were walkie-talkies) before Davey is kidnapped by a seemingly-friendly couple (John McIntire and Jeanette Nolan) who are confederates of Rice.

Eventually, Davey escapes and kills Rice after Jack tricks him. This angers Davey as he did not want to really kill anybody. His anger then turns to sadness as Jack vanishes, but Jack's voice encourages him to save Kim. Davey intercepts the couple who take him hostage and board a plane. But Hal, having heard about the killing of Rice, manages to sneak on board the plane when they demand a pilot. He and Davey manage to escape before the bomb goes off, killing the couple.

Some critics called this film 'Hitchcock for kids.' That certainly can't be a coincidence as its director, Richard Franklin, previously directed Psycho II (1982) and McIntire played the sheriff in Psycho (1960), while Nolan voiced Norman Bates's mother in the same film.

Thomas is every bit as good here as he was in E.T.-The Extra-Terrestrial (1982) because, as in that film, he is playing an ordinary fun-loving kid, who winds up being involved in something overwhelming. Murphy is, at times, downright scary as Rice, especially in the climatic face-off between him and Davey, where the latter tells him that he does not want to kill him, but Rice simply says he wants Davey dead.

But the scene-stealer is Coleman, who is wonderful as both Hal and Jack, giving both characters subtle differences. One could easily see this dual role as Davey's desire to have his father in his life and the end when father and son emerge victorious and embrace will certainly bring a tear to the eye.

Saturday, July 19, 2014

Finding Forrester (2000)

"Did you ever enter a writing contest?"
"Yeah, once."
"Did you win?"
"Well of course I won!"
"You win like money or something?
"No."
"Well, what did you win?"
"The Pulitzer."
-Jamal Wallace and William Forrester.


The great Sir Sean Connery officially announced his retirement from acting in 2003, the same year that The League of Extraordinary Gentlemen was released. Connery was unhappy with the making of that film, which led to his decision to retire. The movie was surprisingly dull, but Sir Sean was perfect casting as Allan Quartermain. If the film does indeed prove to be his final screen appearance, at least history will be able to say it was a great part, even if the movie itself couldn't be called that.

Before Gentlemen, though, Connery had a wonderful role in this movie as the title character, reclusive writer William 1Forrester. On a dare by friends, teenager Jamal Wallace (Rob Brown) goes into Forrester's New York apartment and, after initial hostility, Forrester offers to help Wallace with his writing skills.

This leads to an improvement in Wallace's grades at his school, as well as suspicions of plagiarism from Wallace's professor Robert Crawford (F. Murray Abraham), who is an acquaintance of Forrester.

After turning down Wallace's invitation to watch him play a basketball game at Madison Square Garden (Forrester's anxiety issues keep him from being part of a crowd), the recluse agrees to meeting with him at Yankee Stadium late on night. It is here that Forrester tells him of his personal family drama, which led Forrester to writing his book Avalon Landing.

The two fall into conflict, though, when Wallace uses the beginning of one of Forrester's essays in his class, even though he promised him that the work would never leave his apartment. This leads to Crawford accusing Wallace of plagiarism, although Wallace is told that the charge will be dropped if he wins the state championship, which he does not!

But this does not stop Wallace from writing an essay to Forrester about friendship, which Forrester receives thanks to Wallace's brother Terrell (Busta Rhymes).

This leads to Forrester reading the essay himself at a school contest, which results in great applause from the audience. He also reveals to Crawford that Wallace had permission from him to submit his previous essay. As a result, the plagiarism charge against Wallace is dropped, to Crawford's chagrin.

A year later, Wallace learns that Forrester died of cancer. His lawyer (Matt Damon) informs Wallace that Forrester has left him the manuscript for another novel and wants Wallace to write the foreword for it.

When the movie was released, Connery told Roger Ebert that the movie was similar to his classic film The Man Who Would Be King (1975) in that, at its heart, it was a story of friendship. Indeed, the real meat of this story comes from the friendship which forms between Forrester and Wallace, in the same way that King's greatness comes from the friendship between the characters played by Connery and Sir Michael Caine.

It is also nice seeing Connery share the screen again with Abraham, as the two previously acted together in The Name of the Rose (1986).

The only complaint I have with the film is that Anna Paquin doesn't have much to do as Wallace's classmate Claire Spence. I suppose this was better, though, then having her and Wallace go through the motions of often found in dramas about schools.

I must also say that this movie, while given limited release, redeemed its director Gus Van Sant as his previous film was the ill-fated remake of Psycho (1998).

Tuesday, June 17, 2014

Agony Booth review: Marvel’s Transformers G1 Comic (1984-1991)

My recent review for the Agony Booth looks at the comic Marvel put out centering on the Transformers during their (pre-Michael Bay) height of fame in the 1980s.

Like many of my generation, I grew up loving the Transformers cartoon during the mid-to-late 1980s. After all, these were robots that could turn themselves into cars, planes, weapons, and even dinosaurs! What’s not to like here?

Hasbro introduced the Transformers in 1984, one year after a similar line of robots called the GoBots. Those toys were made by Tonka and also had a cartoon, which ran from 1983 until 1987. However, the GoBots faded into obscurity, while the Transformers increased in popularity, and Hasbro bought out Tonka in 1991.

Unlike Star Wars, the Transformers toys came along before the cartoon (the same applies to other lucrative Hasbro properties from the 1980s, like G.I. Joe and My Little Pony). Perhaps this is why the cartoon hasn’t aged well. Yes, you could say that about almost any animated show from that decade, but Transformers has actually aged worse than most, because its lapses in logic are even more bizarre than, say, Bugs Bunny climbing into a hot stove when he discovers a party going on inside.

For example, the Transformers series began with the three-part installment “More Than Meets the Eye”, which introduced the Autobots and the Decepticons, and showed us how their war took them from their home planet of Cybertron to Earth. It ended with the Decepticons presumably vanquished and the victorious Autobots preparing to return home. But in the very next episode, the Autobots are still on Earth, apparently with no plans to leave, even though they’re (initially) unaware that the Decepticons are still around.

Still, the cartoon proved popular enough to spawn an animated feature film in 1986. But alas, Transformers: The Movie ended up sucking hard, despite a great voice cast that included Leonard Nimoy, Scatman Crothers, Robert Stack, and the legendary Orson Welles in his final film role (which is one of the saddest things I’ve ever heard).

The movie was as logic-free as the cartoon, but the main reason the fans (myself included) hated it was because of the arbitrary way it killed off not only Autobot leader Optimus Prime, but other beloved characters as well, including Starscream, who was always a good source of laughs on the show for how he constantly challenged the authority of Decepticon leader Megatron.

Actually, it wasn’t even the fact that those characters were killed off; it was more that they were killed off in lousy ways. For a good analogy, just think of the way James T. Kirk was killed off. In other words, their deaths had absolutely no relevance to the plot of the film, which had the Transformers dealing with a huge-ass Transformer named Unicron (voiced by Welles) who could transform into a planet. We now had a new boring Autobot leader named Rodimus Prime, and a resurrected Megatron (rechristened Galvatron) who, despite sounding like Spock, just wasn’t fun to watch without an underling who was batshit-crazy enough to challenge him.

So while I certainly don’t regret the time I devoted to collecting the toys, the cartoon is not something I’ve gone out of my way to get on DVD.

But at the same time the cartoon was on the air, Marvel Comics began publishing a Transformers comic book series. It started as a four-issue limited series (complete with an appearance from Spider-Man in issue #3) detailing the robots’ war and their arrival on Earth and Optimus Prime’s attempts to stop Megatron while protecting humanity, with a few slight tweaks (the Autobots’ nerdy human pal Spike is named “Buster” here).

Strong sales prompted Marvel to continue the series beyond issue #4. Which is why that particular issue ends on an unexpected note, with the remaining Autobots, having triumphed over the Decepticons, suddenly getting blown away by Shockwave.

The first few issues of the regular series dealt with Autobot medic Rachet, who was taking Buster’s dad Sparkplug to the hospital during the events of issue #4, as he attempted to rebuild his friends. Meanwhile, Megatron has to contend with Shockwave usurping his command.

Optimus and the other Autobots are eventually restored, but they have to deal not only with the Decepticons, but with other adversaries. One of these is a woman named Josie who, in issue #6, is horribly injured and paralyzed by Shockwave. However, Josie re-emerges stronger than ever by attaching electronic implants to herself and becoming a supervillain called “Circuit Breaker”. She then embarks on a mission to eradicate Transformers on both sides. Many of her victims are Autobots, although this plot point proves effective in issue #23, when she has to deal with the Decepticons Runabout and Runamuck.

In addition to this title, there was also a four-issue miniseries in which the Transformers shared the comic page with G.I. Joe, although that series is pretty ho-hum.

Unlike the cartoon, there were plenty of running plots in the comics which eventually came together, including numerous trips to Cybertron, which introduced us to other Autobots and Decepticons who later found their way to Earth.

One of these recurring plots occurred when the Headmasters were introduced, in another four-issue series. In that series, a group of Autobots, led by Fortress Maximus, and a group of Decepticons, led by Scorponok, take their conflict to the planet of Nebulos. Once there, Transformers on both sides agree to be partnered with natives of the planet to become either “Headmasters” (basically, a Transformer whose head transforms into a person) or “Targetmasters” (the same, only with the person transforming into a weapon).

They later join the Transformers on Earth in issue #38 after receiving a distress signal sent by Goldbug (the reincarnated form of the Autobot Bumblebee).

This leads to Optimus Prime—who was destroyed in issue #24 thanks to a video game, a WTF? moment if ever there was one—being resurrected in issue #42 as a “Powermaster” (in this case, a Nebulon partner transforms into his engine).

However, the series’ crowning moment came with its double-sized 50th issue, in which Decepticons Ratbat and Scorponok attempt to obtain the Underbase, a super-powerful database that Prime sent into space centuries earlier. However, Starscream manages to get the Underbase first and becomes powerful enough to wipe out all Transformers on both sides, until Prime tricks him into basically ODing on it. In a nutshell, this issue was everything Transformers: The Movie should have been: the stakes were much higher, and many plot elements of the series came together beautifully.

That issue could have concluded the series in a reasonable and admirable way, as none of the subsequent thirty issues reach this level of greatness again (for instance, Prime dies and returns to life yet again during this period). But there are still some good moments, such as Megatron returning in issue #56 (after presumably dying in #25), only to be caught in an explosion that merges him with Rachet, à la The Fly.

It’s also nice when Circuit Breaker finally gets even with Shockwave in issue #69. We even get to see Unicron, as well as a face-off between Megatron and Galvatron, which I suppose means the 1986 film wasn’t a total waste of time.

The series ended in 1991 with issue #80 (which amusingly bears the cover caption “#80 in a four-issue limited series”), in which Prime announces that the Autobots have won and can return to Cybertron.

Most of the series came from the pen of Bob Budiansky, who was the main writer until issue #55. The rest of the series came from writer Simon Furman, who wrote the Transformers comic in the UK, which readers on our side of the pond were able to get a look at via issues #33 and #34.

The series did suffer from some of the same ludicrous plot points as the cartoon. For instance, both Prime and Bumblebee died and came back almost as often as Kenny from South Park (though Prime and Bumblebee were a lot less annoying). In another issue, Buster thwarts a Decepticon’s plan to brainwash humans with (I kid you not!) a car wash.

Plus, there was the killing off of many of the Transformers in issue #50, which was done, like in the 1986 film, solely for the purpose of introducing new characters into the mix, even though it was done in a more dramatically satisfying way. In addition, Buster was basically Spike until, lo and behold, Spike himself was introduced as Buster’s big brother, and inexplicably became an Autobot leader when Fortress Maximus’ original partner Galen was killed in issue #38.

But overall, the good in the series outweighs the bad. One of the best moments is in issue #4 of the Headmasters miniseries, when Scorponok’s partner Lord Zarak realizes that his bonding with the Decepticon is slowly taking his humanity from him. This revelation leads to him freeing the partners of the Autobot Headmasters (who were captured in the previous issue) before Scorponok’s influence completely overtakes him. This plot point made Zarak a somewhat sympathetic and even tragic character (another nod to The Fly?) because moments such as these were rarely (if ever) seen on the cartoon.

The series presenting these kinds of issues, as well as conflict within the camps of both Autobots and Decepticons, is ultimately what made this series different and more interesting than the cartoon.

Even when the series officially finished, its continuity would be picked up just two years later when Marvel published the Transformers: Generation 2 series, and later, the Regeneration One series.

So, while people today may automatically think of the dumb, annoying Michael Bay films (starring the dumb, annoying Shia LeBeouf) when they think of the Transformers, this series proved that something dramatically intriguing can be mined out of its premise.

Happily, the series has been reissued in collector’s volumes, available now from IDW Publishing.

Monday, June 16, 2014

Theater of Blood (1973)

"For thirty years the public has acknowledged that I was the master, and that this year my season of Shakespeare was the shining jewel in the crown of the immortal bard!"
-Edward Lionheart.


I recently wrote a review of the terrific comedy, Billy Shakespeare. The film, written, directed and co-edited by Deborah Voorhees, shows how we'd react to history's most famous playwright if he emerged in contemporary times.

Watching that film prompted me to look at another, more sinister look at Shakespeare. Theater of Blood tells the story of actor Edward Lionheart (Vincent Price), who, after apparently taking his own life two years earlier, sets out to kill all the critics who denied him the best actor of the year award.

Lionheart, aided by his daughter Edwina (Diana Rigg) and a group of tramps who nursed him back to health following his suicide attempt (Lionheart's fan club?), goes about these grisly tasks by re-enacting death scenes from Shakespeare's plays.

His first victim, George Maxwell (Michael Hordern), is stabbed to death by said misfits on March 15, a la the killing of the title character in Julius Caesar.

The next victim, Hector Snipe (Dennis Price), like Hector in Troilus and Cressida, is impaled through the heart with a spear before being dragged by a horse.

Lionheart next drugs Horace Sprout (Arthur Lowe) and his wife (Joan Hickson) to sleep before decapitating him, leading to his Mrs. getting the same wake-up call that Imogen did when she awakens to see Cloten in Cymbeline.

But Lionheart is not above taking dramatic license with the text he holds so dear when he permits Trevor Dickman (Harry Andrews) to be killed in order to satisfy the bloodlust of Lionheart's Shylock in The Merchant of Venice.

He also takes advantage of Oliver Larding's (Robert Coote) love for alcohol when he drowns him in a vat of wine, a la the Duke of Clarence's demise in Richard III.

The one critic Lionheart purposely does not kill is Solomon Psaltery (Jack Hawkins), whom he ensures goes to prison when he tricks him into killing his wife in a jealous rage, a la Othello.

Lionheart's plans begin to slightly derail when he attempts to kill Peregrine Devlin (Ian Hendry) by re-enacting the sword fight between Tybalt and Mercutio in Romeo and Juliet. Devlin, who has begun to suspect Lionheart as the murderer, fights admirably, but admits defeat when Lionheart overcomes him and basically tells him to get it over with. But Lionheart then decides to spare him for another time.

However, Lionheart's temporary mercy is not extended to Chloe Moon (Coral Browne, who later became Price's wife), whom Lionheart electrocutes with hair curlers as a modern-day version of Joan of Arc burning at the stake in Henry the VI: Part I.

Lionheart then kills Meredith Merridew (Robert Morley) by forcing him to eat his two poodles baked in a pie, just as Queen Tamora ate her children baked in a pie in Titus Andronicus.

He then attempts to kill Devlin again by taking him to a theater and threatening him with hot pokers in his eyes, a la the blinding of the Earl of Glouchester in King Lear, unless he announces Lionheart as the winner of the Critic's Circle Award.

Fortunately for Devlin, the police arrive in time to save him. Lionheart sets the theater on fire. When Edwina is killed in the confusion, Lionheart takes his daughter to the top of the burning building and quoting the end of Lear before falling to his death.

Some have noted the plot similarities between this film and The Abominable Dr. Phibes(1971), which also starred Price. In that film, he played the title character, who goes about killing the doctors he blames for the death of his wife by re-enacting the curses depicted in the Old Testament.

This film, while gorier, has more of a sense of humor. One could often tell the fun Price was having in many of the films he did, and that is probably never more apparent than it is here. He also has a wonderful supporting cast to back him up.

This film could be viewed as the precursor to Scream (1996) in that its killer commits his horrific acts using something he loves as inspiration (Devlin, at one point, tells Edwina that her father may have been praised more if he had done more than just Shakespeare).

Thankfully, this film never had the increasingly awful sequels Scream had.

Friday, June 13, 2014

An Unfinished Life (2005)

"You wanna know what I dreamed last night?"
"What?"
"I dreamed you weren't such a miserable son of a bitch."
"That's not dreaming, that's wishful thinking."
-Mitch Bradley and Einar Gilkyson.



Since this Sunday is Father's Day, I decided to take a look at one of my dad's favorite films.

This story centers on Jean Gilkyson (Jennifer Lopez), who asks her estranged father-in-law Einar (Robert Redford) if she and her daughter Griff (Becca Gardner) can move in with him after Jean's latest romantic relationship ends badly.

Einar rooms on his Wyoming ranch with his partner Mitch Bradley (Morgan Freeman), who was attacked by a bear one year earlier and who is now cared for by Einar, who does so out of guilt as he was drunk at the time of his attack.

Although the death of Mitch's son, Griffin, put a rift on his relationship with Jean, he and Mitch soon befriend Griff. At the same time, Jean becomes smitten with the local sheriff (Josh Lucas), who manages to put the bear that attacked Mitch in the zoo.

Alas, Jean's last boyfriend Gary (Damian Lewis) tracks her down and causes trouble. Likewise, the bear is freed at Mitch's insistence.

After some (admittedly predictable) drama between Einar and Jean, he basically throws Guy out of town, while Mitch has a final face-to-face with the bear before it flees into the mountains.

Hands down, the pleasure of this film comes from the pairing of Redford and Freeman, two lions in winter if ever there were any. The funniest moment in the film is their reply when Griff asks them if they are gay.

Most everything else in this movie pales in comparison to seeing these two legends share the screen.